#eltit

[literaturadeayerhoyysiempre-blog]

Sólo lo escrito puede permanecer, pues las voces y sus sonidos, de manera ineludible, desembocan en el silencio y pueden ser fácilmente acalladas, malinterpretadas, omitidas, olvidadas

Diamela Eltit (Los vigilantes).

[magda8lena]

A radical night at @hammer_museum for #RadicalWomen @pstinla walk-through with art historian and #pstlala curator Elena Shtromberg 💖✨⚡️💪🖤works by #Cordeiro and #Eltit and #Parente plus the surrounding art by #Tabaimo and more (will find out about the lamps and spinning chairs and videoart tree) 🎯An evening that would not be possible without my radical woman mother 💪⚡️@ucla @thegetty https://hammer.ucla.edu/exhibitions/2017/radical-women-latin-american-art-1960-1985/ (at Hammer Museum)

[llueveenmurania]

Afuera ha estallado una impresionante tormenta. Ah, si vieras cómo en el cielo se abre un multiforme campo de batalla del que estoy recibiendo unos ecos desesperados.

Damiela Eltit - Los Vigilantes

[llueveenmurania]

La escritura como seducción. Mezcla equilibrada en serie saliendo de una cavidad subterránea. Incidental altura que choca a ras de suelo para comenzar a ornamentar todo el espacio develado y así impulsar a los ojos que no habían deseado el portento, que no habían ni siquiera ansiado nada, hasta la funesta participación De los sacros en esta especie de rastreo por luz.

Damiela Eltit- Lumpérica

[llueveenmurania]

La literatura se construye de azares, de la llegada hipotética a la plaza de unos cuantos que se sientan en los bancos para que los otros los miren y los descifren. Y lo que se vende por la irradiación del luminoso instalado en la altura del edificio cercano, es la equivalencia a la plusvalía que alguien pudiera sacarle a unas palabras desplegadas sobre el libro.

Damiela Eltit- Lumpérica

[llueveenmurania]

Sí, cuerpos de venden en la plaza. A un precio no determinado. Es más bien el placer que emana en el vacío ampliando sus moléculas parar petrificar lo eterno de la produción.

Damiela Eltit- Lumpérica

[eltourdeloslibros]

La escritora Diamela Eltit y sus palabras a los marginados en "Mano de Obra"

[silenttrystero]

Jean Franco - Introduction to Spanish American Literature

Franco, Jean. An Introduction to Spanish-American Literature. 3rd Edition. Cambridge: Cambridge University Press, 1994. Print.

 Brief overview and short readings of many of the major figures in Latin America. Great definitions and analysis of modernism. 

Here, Darío puts into a sentence the three essential strands that bound together a disparate group of individual writers- 1.the rejection of any overt message or teaching in art; 2. The stress on beauty as the highest goal; 3. The need to free verse from traditional forms. (119)

…Darío was the central personality of the whole movement, not only for his own experiments and innovations but also because his extensive travels through the American continent helped to link poets of different countries and give them a sense of solidarity. Not only this, he helped to found or contributed to many of the little magazines that sprang up all over  the continent as part of the campaign on behalf of the new poetry. (119-120)

Hitherto, most writers had regarded literature as a weapon in a social or political struggle. But the modernist believed that contemporary society was in the wrong, since all over the continent governments deified material progress…In contrast to societies which pursued the chimera of material progress, the Modernists sought values that were atemporal and eternal, and they found these values in art. (121)

One of the first tasks of the Modernist was to restore and rehabilitate imagination (123)

The crisis [of universal crisis of literature according to Darío] had arisen as a result of nineteenth-century intellectual progress. Scientific discovery had undermined the edifice of traditional belief yet it had failed to give any sense of purpose to the individual and to society; it had been unable to provide any other goal than material prosperity…Far from offering a solution in this crisis, the reigning philosophy of positivism discouraged speculation and, in any case, had become vulgarized. (123)

Revolution of forms Spain still tied to tradition, France offered new models with Parnassians, Symbolists etc.

Modernists-and Darío in particular- learned from them all. From the Parnassians came the cult of perfection and the exotic symbols of princesses and swans, centaurs and Pierrot and Columbine; from Verlaine they learned the importance of musicality; from the Symbolists and from Mallarmé for whom ‘tout, au monde, existe pour aboutir à un livre’, they learned to sublimate the conflicts and variety of the real world into verbal syntheses of symbols. Yet we should beware of thinking in terms of plagiarism or mechanical imitation. (125)

The Modernists were not cosmopolitans because they preferred the foreign to the native, but simply because they regarded all art as cosmopolitan. Art might be the province of a special élite, but it was an élite which knew no frontiers. ‘Exoticism’ is simply another aspect of this… The Modernist attempted to give his poetry an atemporal and universal validity and hence he tended to avoid the particular, the contemporary and the local. (126)

Harmony, then, is one of the keynotes to Prosas profanes, a harmony of sound which expresses the harmony of soul which Darío achieved through his poetic  creation if not in existence. (143)

Darío – mythology, sensuality (143-145), yeats copulating in the foam musicality

Quiroga – nature not as backdrop but as active force that can undo any kind of man-made plans, or organizations. Ultimate trump of positivist regulations and rules.